A lot of time artists go to museums for inspiration. Other times people may go just to practice sketching. Tourists seem to be running around trying to see everything and only really slow down for the "main stream" artists. Some slowly read every bit of information and stand in front of pieces for a long time pretending to examine them. But what is the best way to get the most out of your trip to a museum?
I've found that since most museums have so much hung at one time it's
best to plan out your trip ahead of time. On almost every museum website
you can find a map of the museum with the current galleries as well as
special exhibits.
If you are going to be inspired by things you don't know then I suggest
walking through the museum and stopping when you're intrigued. This way
you aren't bumbling around an entire museum looking at every little
piece. Don't skip any sections because you may find inspiration in
something you never expected.
If you're going to practice sketching be aware of the layout of the museum so that you leave yourself enough room around you. Also it's important for this to know which artist you are going to copy ahead of time (unless you just want random inspiration sketches) so you know where to go to make the most out of your time. I find this helpful because you can plan out which artist you want to learn from (because techniques change quite a lot from artist to artist).
If you're a tourist, you've probably planned out a good portion of what you want to see or get out of the trip to the museum so make sure to note where all of the famous pieces are located throughout the museum. This is pretty simple because museums never really hide any "main stream" art and all museums employees will know where the pieces are. Just be prepared for crowds.
If you're there to learn, read up ahead of time. Know what it is you're going to see before you do so that when you see the piece you can really see it and get the most out of it because you can right away apply what you read instead of reading about it and trying to see it all at once.
Overall, make sure to bring a sketchbook to sketch and write things down. Also don't bring a huge backpack because it will probably have to be put in with coat check. Just be aware you are in a public place and you aren't the only one who is there to appreciate what is there. Everyone wants to get the most out of their trips to museums so be courteous (don't say things like "a 5 year old could do that") and soak in as much as you can.
Showing posts with label hints. Show all posts
Showing posts with label hints. Show all posts
Friday, February 28, 2014
Monday, February 17, 2014
PAINTING: SKIN TONES
Painting has a lot of amazing qualities about it from the color, detail, size, and subject matter. One of the things that amazes me the most about paintings is how artists' portray skin tones. There is such a variety of ways to portray a person and the tones of their skin can set the whole mood of a painting. Now, paintings during the Neoclassicism and before used basic skin tones. For instance:
(http://www.arthermitage.org/Anton-Raphael-Mengs/Perseus-and-Andromeda.html)
Notice the skin tones used are probably mixes of white, pink, Indian yellow, Naples yellow, burnt umber. Nothing too drastic besides the reds or slight purple tones.
Now compare this to later artists like Vincent van Gogh:
(http://www.theguardian.com/artanddesign/2010/aug/21/vincent-van-gogh-painting-stolen-cairo)
As you can see during the Impressionism movement artists begin to see colors in shadows of skin tones. van Gogh includes brilliant colors like Alizarin Crimson and Prussian Blue. When I first was learning to see colors in shadows, it was like a whole different world before me. I never would have noticed how colorful a corner of a white room could be.
One of my favorite artists, Lucian Freud (grandson of Sigmund Freud), used color in a more natural sense even if there are still purples and blues. Although, he often got criticized for having lifeless looking paintings because of the colors he used as well as the Cremnitz white that makes a unique texture.
(https://www.tate.org.uk/art/artworks/freud-leigh-bowery-t06834)
Now there are still lots of differences between the colors these painters use and how they apply them. But I do think the simple idea of seeing colors in places you wouldn't definitely is important in becoming an artist or appreciating pieces of art. Try it out!
 |
| Anton Raphael Mengs, Perseus and Andromeda, oil on canvas, 1774-9, Germany |
Notice the skin tones used are probably mixes of white, pink, Indian yellow, Naples yellow, burnt umber. Nothing too drastic besides the reds or slight purple tones.
Now compare this to later artists like Vincent van Gogh:
 |
| Self Portrait of Vincent van Gogh, oil on canvas, 1888 |
As you can see during the Impressionism movement artists begin to see colors in shadows of skin tones. van Gogh includes brilliant colors like Alizarin Crimson and Prussian Blue. When I first was learning to see colors in shadows, it was like a whole different world before me. I never would have noticed how colorful a corner of a white room could be.
One of my favorite artists, Lucian Freud (grandson of Sigmund Freud), used color in a more natural sense even if there are still purples and blues. Although, he often got criticized for having lifeless looking paintings because of the colors he used as well as the Cremnitz white that makes a unique texture.
 |
| Leigh Bowery, Lucian Freud, oil on canvas, 1991 |
Now there are still lots of differences between the colors these painters use and how they apply them. But I do think the simple idea of seeing colors in places you wouldn't definitely is important in becoming an artist or appreciating pieces of art. Try it out!
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